Roy Lichtenstein: 
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Free at the Whitney

Every Friday evening from 5–10 pm and on the second Sunday of every month, admission to the Museum is free. Both offerings include free access to exhibitions, special programming, city views, and more. Visitors 25 and under are always free, every day. 

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Model zipping a red-and-blue dotted sherpa fleece inspired by Lichtenstein’s Cathedral #2

Gap–Lichtenstein–Whitney

Our collaboration with Gap and the Estate of Roy Lichtenstein brings the artist’s bold visual language to an 18-piece collection of clothing and accessories. Bold patterns on sherpa. Graphic prints on tees. This is art—worn by you.

Shop the Collaboration

Child drawing on paper titled "Seven Soothing Sketches" with colorful markers and a pill organizer on a table.

Family Programs

Whitney family programs offer artmaking workshops, special events and tours, in-gallery activity guides, and at-home artmaking challenges. Join us for upcoming family events or Free Second Sundays.

More about family programs

A large stainless steel structure—the outline of a pier—hovers over the Hudson River at dusk.

Video

Watch our latest video series to dive deeper into art at the Whitney.

A view of the Museum with people and traffic in the foreground.

Podcasts

Listen to Artists Among Us, featuring long-form and short-form podcasts exploring artworks and events in and around the Whitney through conversation.

Blurred images of mugshots arranged in a grid against a black background.

artport

Check out art that's created specifically for the web on artport—the Whitney's gallery space for commissions of net art.

Dive Into Our Collection

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  • Three nude figures sit with their backs to the camera, the left person resting an arm on a round sculpture.
    Three nude figures sit with their backs to the camera, the left person resting an arm on a round sculpture.

    Yvonne Rainer, Five Easy Pieces, 1966–1969. 8mm and 16mm film, black-and-white, silent, 48 min., transferred to video, aspect Ratio: 4:3. Whitney Museum of American Art, New York; purchase, with funds from Joanne Leonhardt Cassullo in honor of Ron Clark and The Independent Study Program 2011.91. © Yvonne Rainer

  • A horizontal canvas covered in stuffed animals and afghan blankets in muted colors.
    A horizontal canvas covered in stuffed animals and afghan blankets in muted colors.

    Mike Kelley, More Love Hours Than Can Ever Be Repaid and The Wages of Sin, 1987. Stuffed fabric toys and afghans on canvas with dried corn; wax candles on wood and metal base, overall: 120 3/4 × 151 3/4 × 31 3/4 in. (306.7 × 385.4 × 80.6 cm). Whitney Museum of American Art, New York; purchase, with funds from the Painting and Sculpture Committee 89.13a-d. © The Mike Kelley Foundation for the Arts / Licensed by VAGA at Artists Rights Society (ARS), New York

  • A person with short curly hair looks toward the camera against an orange background.
    A person with short curly hair looks toward the camera against an orange background.

    Howardena Pindell, Free, White and 21, 1980. Video, color, sound, 12:15 min., aspect Ratio: 4:3. Whitney Museum of American Art, New York; purchase, with funds from the Film, Video, and New Media Committee 2015.35. Courtesy the artist and Garth Greenan Gallery, New York

  • A woman’s life plays out on a TV set in the middle of her living room.
    A woman’s life plays out on a TV set in the middle of her living room.

    Lynn Hershman Leeson, Lorna, 1979–1984. Video installation, color, sound; with television, interactive laser disc shown as DVD, modified remote control, television cabinet, night table, end table, wood chair, upholstered chair, mirror, fishbowl with plastic goldfish, clothing, wallet, belt, shoes, watch, telephone, magazines, framed storyboards, and framed art, dimensions variable. Whitney Museum of American Art, New York; purchase, with funds from the Digital Art Committee, the Director's Discretionary Fund, and Nina and Michael Zilkha 2019.291. © Lynn Hershman Leeson

  • A geometric industrial building with two large silos, a tall smokestack, and crisscrossing power lines.
    A geometric industrial building with two large silos, a tall smokestack, and crisscrossing power lines.

    Charles Demuth, My Egypt, 1927. Oil, fabricated chalk, and graphite pencil on composition board, overall: 35 15/16 × 30 in. (91.3 × 76.2 cm). Whitney Museum of American Art, New York; purchase, with funds from Gertrude Vanderbilt Whitney 31.172

  • A black plaque with gold letters advising to limit acting against your nature, like sleeping with people you hate.
    A black plaque with gold letters advising to limit acting against your nature, like sleeping with people you hate.

    Jenny Holzer, Untitled with selection from "Living Series", 1980–1982. Bronze wall plaque, overall: 7 15/16 × 10 × 1/4 in. (20.2 × 25.4 × 0.6 cm). Whitney Museum of American Art, New York; Promised gift of Thea Westreich Wagner and Ethan Wagner P.2011.179. © Jenny Holzer/Artists Rights Society (ARS), New York

On the Hour

A 30-second online art project:
Frank WANG Yefeng, The Levitating Perils #2

Learn more about this project

Learn more at whitney.org/artport

On the Hour projects can contain motion and sound. To respect your accessibility settings autoplay is disabled.